Companies

Fighting Back

October 13, 2017

“Darkness”
Polish National Ballet
Teatr Wielki – Opera Narodowa
Warsaw, Poland
October 07, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

Dance critic Graham Watts called Izadora Weiss “a tempest on the Baltic shore.” Weiss has been creating a stir in the Polish dance scene from her home base of Gdansk ever since Jiří Kylián spotted her choreographic talent in 1989 during his tenure as artistic director of the Nederlands Dans Theater. She became his protégé, and would later use Kylián’s company as a model on which to base the Baltic Dance Theatr (BDT), a troupe she founded in 2010 in Gdansk that she continues to direct today. Formerly affiliated with the Baltic Opera, the BDT became an independent company in 2006 and was renamed Biały Teatr Tańca (White Dance Theatr) – BTT for short. Weiss still leads the company, serving as its main choreographer. Pieces by Kylián complement BTT’s repertoire. (more…)

Timeless

October 8, 2017 1 Comment

“Pure Cranko” (“L’Estro Armonico” / “Brouillards” / “Jeu de Cartes”)
Stuttgart Ballet
Stuttgart State Opera
Stuttgart, Germany
October 03, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

This season is an especially special one for Stuttgart Ballet. John Cranko, who took over the ballet company of the Wuerttemberg State Theater in 1961 and turned it into the “Stuttgart Ballet Miracle”, would have celebrated his 90th birthday this August. In October, the premiere of his “Onegin” will have its 50th anniversary. Moreover, it’s Reid Anderson’s twenty-second – and last – season as artistic director. He’ll pass the torch to Tamas Detrich next summer.

As a result, there are quite a number of events slated for the season – but, with everything being interconnected in Stuttgart, the first program already brought the company full circle. (more…)

A Patchy Beginning

October 3, 2017

“The Taming of the Shrew”
Bavarian State Ballet
National Theater
Munich, Germany
September 30, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

This August John Cranko would have celebrated his 90th birthday. Stuttgart Ballet honors its founder with several programs, beginning with the triple bill “Cranko Pur” that premiers on October 3rd. The Bavarian State Ballet, which Cranko directed in addition to his Stuttgart company from 1968 – 1972, revives his three big narratives. “The Taming of the Shrew” opened the season. “Onegin” and “Romeo and Juliet” are scheduled for February and April 2018. During the Ballet Festival Weeks next April all three ballets will be danced on three consecutive evenings.
I saw the second performance of “Shrew” led by Natalia Osipova and Sergei Polunin, both guest dancers of the Munich company.

Cranko’s characterization of the figures follows Shakespeare’s comedy closely. We are in Padua in the 17th century. Poor Baptista is kept in suspense by his two daughters. No less than three suitors buzz around the pretty Bianca like bees around the honey pot, but her older sister, the strident Katherina, fights getting married tooth and nail. Bianca is not allowed to marry until Katherina is wed, declares Baptista unceremoniously. But how to marry her off? By accident, Bianca’s suitors – Lucentio, Hortensio and Gremio – run into the young Petruchio and recruit him to court Katherina. (more…)

Three New Pieces for NDT

September 27, 2017

“Side A: Split into One” (“Proof” / “Soon” / “Sisters”)
Nederlands Dans Theater
Zuiderstrandtheater
The Hague, The Netherlands
September 22, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

On the right side of the Zuiderstrandtheater berths a huge yellow ship, the way on the left side leads directly to the beach. The theater, a plain concrete building with much glass, opened in 2014 in The Hague’s port area. Its neighborhood and the parking lot in front of the house don’t please the eye, but the view out of the huge windows on the first floor does. Between the dunes one can see the sea gleaming in the setting sun.
Inside, the smell of deep-fried fish permeated the foyer. The reception celebrating Nederlands Dans Theater’s first performance this season – a triple bill with entirely new works – was in full swing. The program consisted of pieces by Edward Clug, Medhi Walerski and the inseparable duo Sol León & Paul Lightfoot. Since 2002 León and Lightfoot have been the company’s house choreographers. In 2011 Lightfoot also took over as artistic director succeeding Jim Vincent. (more…)

Celebrating Hans van Manen

September 22, 2017

“Ode to the Master” (“On the Move” / “Symphonieën Der Nederlanden” / “Sarcasmen” / “5 Tango’s”)
Dutch National Ballet
Dutch National Opera & Ballet
Amsterdam, The Netherlands
September 17, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

“Were you asked to choreograph about cheese?” the late Stuttgart dance critic Horst Koegler jokingly asked Hans van Manen in a 1982 interview when discussing Van Manen’s first-ever choreography. This first piece premiered at the Netherlands Opera in Amsterdam in 1957, was “nationally tinged,” but by no means about cheese, and has been performed more than 350 times. It was a thorough success. Sixty years later Hans van Manen is still choreographing and still successful. His works have won the acclaim of audiences all over the world. (more…)

State of Affairs in Munich and News from Berlin

September 13, 2017

Bavarian State Ballet / State Ballet Berlin
Munich / Berlin, Germany
September 12, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

At the end of last season, the first under director Igor Zelensky, a second wave of dancers left the Bavarian State Ballet. Exact numbers and names weren’t announced by the press office, but according to information from within the company 22 out of a total of 69 dancers packed their bags. My report prompted an email by the press office that corrected the number to 21 and denied that the principals Maria Shirinkina and Vladimir Shklyarov would quit the company. What did finally come of it?

First, over the summer break the number of those leaving increased to 23, because demi-soloist Wentao Li had meanwhile returned to China, his home country, for family reasons and guest ballerina Svetlana Zakharova had withdrawn her commitment. Yet in the course of the last season Zakharova had performed only once in Munich. Secondly, Shirinkina and Shklyarov indeed did bid farewell to the core company and returned to the Maryinsky Ballet. They will appear in Munich as guest dancers.

So the gaps were considerable. How did Igor Zelensky fill them?
The company starts the new season with 66 dancers, four of them guest dancers (Shirinkina & Shklyarov and again, as last year, Natalia Osipova & Sergei Polunin). Five dancers of English National Ballet have joined: (more…)

Society’s Boggy Grounds

September 8, 2017

“Manon”
Semperoper Ballet
Semperoper
Dresden, Germany
September 04, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

Semperoper Ballet opened the season with a final run of Kenneth MacMillan’s “Manon.” In most performances since the Dresden premiere in fall 2015 Melissa Hamilton danced the title role. Hamilton returned to her home company, the Royal Ballet London, in May this year. The gap she left was filled by two guest ballerinas familiar with the role – Anna Ol (Principal of Dutch National Ballet) and Dorothée Gilbert (Étoile of Paris Opera Ballet). Both dance twice. The Semperoper Ballet’s Gina Scott is cast for the final two performances in mid-October. I saw the opening night with Ol alongside Julian Amir Lacey as Des Grieux. (more…)

The Alvin Ailey Company Tours Germany

August 26, 2017

“Alvin Ailey American Dance Theater”
Deutsches Theater
Munich, Germany
August 22, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

The summer tour of the Alvin Ailey company kicked off in Paris and, after one week in Basel, reached Germany in early August where the main body of performances was scheduled. The last stop will be in Copenhagen in September.
I saw the opening night in Munich, one of the five cities on the troupe’s German itinerary. The four pieces on the program included “Four Corners” by Ronald K. Brown, “Exodus” by Rennie Harris, Robert Battle’s short “Takademe” and the company’s signature piece “Revelations,” one of the Ailey’s earliest works. He created it in 1960 when he was just twenty-nine-year-old. “Four Corners” and “Exodus” were replaced by “Open Door” and “Piazzolla Caldera” at other venues on the tour. (more…)

Oh Rudolf…

August 9, 2017

“Romeo and Juliet”
English National Ballet
Royal Festival Hall / Southbank Centre
London, Great Britain
August 02, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

English National Ballet’s revival of Rudolf Nureyev’s “Romeo and Juliet” this August celebrated two birthdays at once. The 40^th birthday of the ballet itself and the 90^th birthday of the one who commissioned it, Dame Beryl Grey, the company’s President and former artistic director. The six performances given in early August at the Southbank Centre, London, included five castings for Romeo and four ballerinas in the role of Juliet. I saw Josua Hoffalt and Laurretta Summerscales as the star-crossed lovers. Hoffalt, étoile of Paris Opera Ballet, guested with English National Ballet for the first time. For Summerscales it was one of her last performances this year with her home company. She will take a sabbatical year with the Bavarian State Ballet in the next season. (more…)

“Anna Karenina” – Another Lesson By Neumeier

July 21, 2017

“Anna Karenina”
Hamburg Ballet – John Neumeier
Hamburg State Opera
Hamburg, Germany
July 14, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

Several choreographers have adapted Leo Tolstoy’s epic novel “Anna Karenina” for the dance stage. Maya Plisetskaya choreographed the piece for the Bolshoi in 1972 and danced the title role; Alexei Ratmansky created several versions, his latest for the Maryinsky in 2010; Christian Spuck, artistic director of Ballet Zurich, premiered his version in 2014. Now John Neumeier has tackled the subject with Hamburg Ballet. It is a co-production with the Bolshoi Ballet and The National Ballet of Canada, but has been solely produced in Hamburg. (more…)

Young Choreographers of the Ballett am Rhein

July 16, 2017

“Young Moves”
Ballett am Rhein
Opera House Düsseldorf
Düsseldorf, Germany
July 09, 2017

For the second time, Ballett am Rhein presented works by young choreographers. All six ballets of “Young Moves” were created by members of the company. Four of them – Wun Sze Chan, Boris Randzio, So-Yeon Kim and Michael Foster – already participated in last year’s event; Sonny Locsin and Chidozie Nzerem were novices. The program was shown three times during the first half of July. I saw the second show, an afternoon matinee. Maybe it was because of the gorgeous summer weather that many seats in the auditorium remained empty. Applause was, however, warm and intense. (more…)

Conversations with Marijn Rademaker and Jozef Varga

July 14, 2017

Dutch National Ballet
Amsterdam, The Netherlands
June, 2017

The beautiful opera house and national ballet company are as welcoming and open as Amsterdam itself. During my last visit for the premiere of Alexei Ratmansky’s “Shostakovich Trilogy” in mid-June, I took the opportunity to talk with two principal dancers, Marijn Rademaker and Jozef Varga, about their career and their plans for the future.

Rademaker, a Dutchman, returned home in 2015 after many years with Stuttgart Ballet. We met in a cafe opposite the opera house a few hours before the premiere. Rademaker’s answers are in italics. (more…)

Drain of the Bavarian State Ballet Worse Than Thought

July 12, 2017 3 Comments

Bavarian State Ballet
Munich, Germany
July 12, 2017

According to media reports one week ago, 18 out of a total of 69 dancers are leaving the Bavarian State Ballet at the end of this season. Names weren’t given. Yesterday the company’s press office emailed its newsletter. It contains messages of success – around 95% of seats were sold throughout the season and important pieces entered the repertoire – as well as announcements of promotions: Jonah Cook to principal, Alexander Omalchenko and Erik Murzagaliyev to first soloists, Dmitry Vyskubenko to demi soloist (Prisca Zeisel had become first soloist already in April); and that Natalia Osipova and Sergei Polunin will appear in Cranko’s “Shrew”.

The press office was, however, economical with the names of the ones leaving. The newsletter’s second to the last paragraph contains only seven names:
First Soloist Matêj Urban (→ Les Ballets de Monte-Carlo)
Demi Soloists: Mai Kono (→ Les Grands Ballets Canadiens de Montréal), Adam Zvonaŕ (→ Czech National Ballet, Prague)
Corps de Ballet: Nicha Rodboon (→ Royal Ballet of Flanders, Antwerp), Radka Příhodová (→ Czech National Ballet, Prague), Robin Strona (→ Semperoper Ballet, Dresden) and Gianmarco Romano (→ Finish National Ballet, Helsinki). (more…)

Why Did the Bolshoi Cancel “Nureyev”?

July 10, 2017

Bolshoi Ballet
Moscow, Russia
July 10, 2017

Saturday’s news that the Bolshoi canceled “Nureyev” three days before the ballet’s premiere on Tuesday, July 11th, and instead plans to perform its well-trodden “Don Quixote”, came as a severe blow. The ballet traces the life of ballet legend Rudolf Nureyev, who had his early career with the Kirov Ballet (today’s Maryinsky), before defecting from the Soviet Union during a tour to Paris in 1961. Nureyev became an acclaimed superstar in the West. He died in 1993, due to the consequences of AIDS.

The artistic team for “Nureyev” consists of choreographer Yuri Possokhov (a former Bolshoi dancer now resident at San Francisco Ballet), stage director Kirill Serebrennikov, composer Ilya Demutsky, music director Anton Grishanin and costume designer Elena Zaytseva. Serebrennikov is also in charge of the set design. I write in present tense as the premiere hasn’t been entirely scrapped but was postponed to May 2018. (more…)

More Than a Quarter of the Company Leaves the Bavarian State Ballet

July 7, 2017 1 Comment

Bavarian State Ballet
Munich, Germany
July 07, 2017

Twenty-nine dancers – around forty percent of the company – left the Bavarian State Ballet last summer when Igor Zelensky took over directorship in Munich. Now, after the first year under his guidance, another 18 of 69 dancers in total (26% of the company) are leaving.

Zelensky declined an interview on this matter, communicating through his press office that two days before going into the summer break he would have no time. A few days ago he drew up a balance on his first season with the German Press Agency (Deutsche Presseagentur dpa) though including some comments on the personnel changes within the company. Those were echoed in the German press (see links below). Zelensky said, “Some [dancers] leave, some I fired. I wanted more quality according to my taste – those are no bad dancers, but I have my vision of what I want to do in the future. […] It’s a huge drama, 18 of 69 are really many. It will take much time to bind all together anew.”* In an interview with the German Press Agency this spring Zelensky had envisioned a larger ensemble, four new productions per season and more than 74 performances. Where will he now draw the resources – the dancers – from? (more…)